Larry Kahaner

16 Dec 2014

6 Comments

Write the Steamiest Sex Scenes Ever: Guaranteed

By Larry Kahaner

When writers ask me how to write sex scenes, I always give them an answer that they hate.

Don’t do it.

Why?

It rarely works and makes you look like an idiot.

It’s what you don’t see that’s sexiest (Men’s Health UK)

I’m not sure why, but most authors, even famous and popular ones, can’t write a sex scene to save their lives. I have my theories as to why this is true but it doesn’t matter. No matter whom the author, their sex scenes often come out ludicrous or mechanical. Thriller writers are the worst offenders as are those transitioning from non-fiction to fiction.

Oddly enough, this even holds true for erotica writers. Each time they try to describe the sex act in a new and novel way, with the aim of titillating their readers with something different (and I applaud them for their effort), the result is often farcical.

I don’t mean to say that there aren’t strong sex scene writers out there. There are, but they are rare.

This dearth of bad sex scene writing even has its own award given by the Literary Review. Among the short list finalists his year were two Booker-winning novelists and one from a Pulitzer Prize winning author.

A Guardian article noted: “The Literary Review sets out to find ‘the most egregious passage of sexual description in a work of fiction,’ and describes it as ‘Britain’s most dreaded literary prize.’ Established by Auberon Waugh in 1993, its purpose is to draw attention to ‘perfunctory or redundant passages of sexual description in modern fiction, and to discourage them,’ with former winners including Sebastian Faulks, A.A. Gill and Melvyn Bragg.”

Here’s some good (bad) news. “I think this is one of the strongest shortlists in recent years, containing some real literary heavyweights,” said Literary Review’s Jonathan Beckman.

Here’s an article about the winner, Ben Okri for the passage in his book The Age of Magic. This is Okri’s 10^th book. He won the Booker in 1991 for The Famished Road and has received, among other prizes, the Commonwealth Writers’ prize, the Aga Khan Prize for Fiction and the Guardian Fiction prize. He’s no slouch but look what he wrote:

“When his hand brushed her nipple it tripped a switch and she came alight. He touched her belly and his hand seemed to burn through her. He lavished on her body indirect touches and bitter-sweet sensations flooded her brain. She became aware of places in her that could only have been concealed there by a god with a sense of humour.

“Adrift on warm currents, no longer of this world, she became aware of him gliding into her. He loved her with gentleness and strength, stroking her neck, praising her face with his hands, till she was broken up and began a low rhythmic wail … The universe was in her and with each movement it unfolded to her. Somewhere in the night a stray rocket went off.”

Okri’s response to winning: “A writer writes what they write and that’s all there is to it.”

So, what to do about your sex scene?

Leave it largely to your readers’ imagination. Start with this: “She took his hand and they walked into the bedroom. Darkness fell.” Spiff it up a bit, talk about clothing, smells and lighting but NOT too much. Your readers will fill in the blanks with their own imaginations, and I can bet that it will be a million times sexier than what you could describe.

Posted in characters, novelists, plotting, research, writing tips and tagged bad sex scene award, erotica, guardian, larry kahaner, literary review, novel writing, sex scenes, successful authors, writing sex scenes

10 Dec 2014

How to Screw Up Your Novel: The Drop-In Character

By Larry Kahaner

I just finished a terrific book that had one major flaw. It’s a shame, too, because the book’s author is up there with Baldacci, Child and Crais. He’s not nearly as well known as these guys but he’s that good.

Beware the drop-in character.

I won’t tell you the book or author so as not to embarrass him but my reason for telling you this is so you won’t make the same mistake. This goes for fiction and non-fiction writers. Both can be prone to the same error.

The book is a business thriller that starts off with a bang (literally, if you know what I mean) and proceeds to bring in genius characters with their foibles, oddities and random proclivities that make you smile and keep reading. The plot concerns financial shenanigans. There’s a lot of computer type stuff, which I normally don’t like, but it’s done so well that it kept my interest.

Now here’s what happened.

A few chapters in, the most eccentric, fresh and compelling character I’ve read in years enters the picture but then you don’t see him (ok, maybe a few tiny times) until the end where he persuades the main characters to start a consulting team because they’re the best in the world at what they do. It appears to me that when he was done writing the book the author decided to turn it into a series. That’s cool, but he shouldn’t have introduced that great character unless he was going to use him the whole way through.

It’s wrong to parachute a character in – a unique one at that – and then not see him fully operate until the end of the book where he springs to life.

I get what the author was trying to do – and agree that it would make a great ‘book one’ of a series – but this was not the way to do it.

There were several choices the author could have made. First, rewrite the book to get the eccentric character intertwined from the start so he does not drop in unceremoniously at the end.

The second was to put him in the end of the book but do it so cleverly that the reader accepts it. How? Several ways come to mind. He could have been pulling the strings all along; he could have been the unknown person who dropped helpful hints to the main characters… a few more will come to me later.

So, did I enjoy the book? Yes, it was terrific and except for this one screw-up, it was nearly flawless. I even bought the second in the series, because, like I said, the author’s writing, plotting and storytelling is top notch. If he pulls this kind of stunt again, though, I’m getting a Kindle refund.

Posted in characters, novelists, plotting, writing tips and tagged how to write characters, larry kahaner, mistakes that writers make, novel characters, novel writing, writing characters | Leave a comment

05 Dec 2014

5 Comments

Guest Blog: Robin Latham – “Why Not Pinterest for the Novelist?”

Novelist Robin Latham is writing a book about the Caribbean and has discovered that Pinterest helps organize her research material. This works for non-fiction writers, too. Here’s how she does it.

Why Not Pinterest for the Novelist?

by Robin Latham

For a very long time (I’m embarrassed to say how long) I’ve been doing research for a novel set in the Caribbean during the sugar days – the late 17^th-early 18^th centuries. The Internet existed when I first began the research, but not with the extent of resources it offers now. My early research involved tracking down sources at libraries or in online used book stores. Sometimes I even took notes by hand when the source was rare or only available in the archives of the tiny Caribbean island of which I was writing.

Nevis: Queen of the Caribbees

It remained a hobby for a long time as I rambled through different sources trying to find out – not the historical timeline of the island, which was easy to establish – but the day to day aspects of a culture that aren’t necessarily written down. In my case, I had three very different cultures to understand on this island: the Anglo planters (mostly Scots and English), the African slaves (mostly from nowadays Ghana/Nigeria), and a small colony of Sephardic Jews who had brought the knowledge of farming and refining sugarcane from Brazil to the British Caribbean islands.

My questions were simple. How did they dress? What did they eat? How did they entertain themselves? How did they practice their faith (whether Anglican, African, or Jewish)? In short – what did their world look like?

At my day job one day I attended a presentation about using social media to promote health education messages. One of the vehicles discussed was Pinterest, which I’d heard about, but had thought was mostly for ladies looking for new interior decorating ideas. Something about it intrigued me.

I wanted to see how Pinterest worked. It took me several hours just to figure out how to “pin” something. Then I had to figure out what I wanted to pin. That’s where my exploration of Pinterest abruptly ended. I wasn’t looking for interior design ideas, or recipes, or patterns for crocheting baby booties. Nor did I want to pin any of those things.

Time passed. I began to gather all my resources for my novel so I could learn what I had and where to find it. Much of what I had now was on the Internet and I wasn’t sure how to archive sites with http addresses other than putting them into a WORD document. I tried Evernote but the interface was so formidable that even “Evernote for Dummies” flummoxed me. Besides, I didn’t need to be able to search every resource I had by keyword. I just wanted to see what I had collected all in one place.

Planting cane in the West Indies

So, Pinterest. Maybe I did have something to pin after all. I started pinning all kinds of material: covers of all the books I’d used in my research (a visual bibliography); photos and drawings from the period of sugar mills and sugar mill technology; archaeological sites, sugar mill ruins, maps and prints of people, places, and flora and fauna from the colonial days; figural art from the Yoruba, Ibo, and Congo cultures; and photos I’d taken on visits to the island of historical sites such as the Sephardic cemetery and colonial fortifications that were still standing. My pins became even more encompassing as plot points began to coalesce into a full story. I was pinning costumes from current celebrations – Junkanoo, Sugar Mas, Cropover – that had been going on for centuries in the British Caribbean islands because they have close visual connections to African tribal art and ceremonial rituals. I pinned links to contemporary kaiso/calypso music, which is heir to a musical tradition extending back to the plantation days and which offers sly social commentary on the ruling class (as well as a call to dance and drink troubles away). One of the subplots of my novel involves mechanical fancies run by water power. I found all kinds of places in the world with miniature mechanical villages and pinned pictures and links to them.

800+ pins later, I’ve discovered that Pinterest is a wonderful writers’ resource. It gathers all my sources and lets me see them in one place. I can’t emphasize how important it is to see your novel visually, not just as words on a page. Looking at things seems to activate a different kind of knowing and understanding than reading does. Using Pinterest makes my story richer.

You can find Robin Latham’s Pinterest page at Tradewinds: A Novel in Progress

Posted in plotting, research, writing tips and tagged how to research novels, Nevis, novels about the west indies, pinterest for the novelist, sugar cane in west indies, using pinterest in fiction researcdh, using pinterest in fiction research

01 Dec 2014

2 Comments

Why Do So Many People Write at Starbucks?

By Larry Kahaner

Why do so many people write at Starbucks?

The answer has to do with me going to Nevis.

View of St. Kitts from Nevis with rainbow bonus.

Let me explain.

Brain researchers don’t quite understand it all, but they’re learning more and more about something called ‘neuroplasticity.’ This is the brain’s ability to change neural pathways and synapses due to changes in behavior, environment, thinking, emotions and, of course, an unfortunate conk on the noggin. These changes in neural pathways and synapses determine, among other things, our creativity.

This means that your brain actually changes its functional structure based on your thoughts, environment and the other items listed above. What does this have to with writing? Simply put, by changing our neural pathways and synapses we can be more creative in our fiction as well as non-fiction writing. One way to do this is through a change in scenery.

I recall many times having trouble figuring out the approach to a feature article I was writing. Getting away from the office, even for a short while, really helped solidify my thoughts. The same went for my non-fiction books. Getting away always worked. A change often led me to ‘aha moments’ and I could see a whole book’s organization and structure in my mind’s eye for the first time.

Dune_Shacks_of_Peaked_Hill_Bars_Historic_District

Dune shack of Cape Cod.

Consider the Dune Shacks of Cape Cod. These ramshackle huts built for washed- up-on-the-shore sailors have offered help to the likes of Jack Kerouac, Norman Mailer, e.e. cummings and Jackson Pollack. Before modern science stepped in we thought the structures’ powers lay in solitude, beauty and the sound and smell of the surf. People used the word inspiration. Sorry. It’s just that it was different – very different – from where the writer/artist usually lived and worked. Not only was the scenery dissimilar to home but the shacks had no running water, electricity or other everyday amenities. How’s that for different? They still don’t offer creature comforts and you can enter into a lottery to try one for yourself.

You’re probably thinking that we writers have always known that a change in environment is good for our writing. Now we know why. The science is solid.

Writers often thrive in artistic and literary retreats. It’s not that the environment is so conducive to writing – although it may have to do with not having to cook your own meals or handling everyday family tasks – but, again, it’s that it’s different. A good pal of mine just returned from such a place where he clocked about 4,000 words a day while in residence. He claims his output was due mainly to being relieved of his daily household chores, but I’m going with the science.

By changing our environment, we change what we see, what we smell, how we feel and what we think. This helps to get us out of our brain ruts which have been worn deep by doing and seeing the same things day in and day out. Scientists now tell us that these ruts are real and not imagined. Leaving these ruts puts us on new paths of thinking and understanding and that’s always good for writers, fiction and non-fiction alike.

I can tell you right now that being on the island of Nevis is helping my ability to churn out new thoughts and ideas, and not just about writing. At the risk of being too obvious, Nevis is very different from where I live outside of Washington, DC. Nevis is lush and warm. It’s a roundish, volcanic island with one extinct cone in the middle, Nevis Peak, which is often shrouded in clouds. Yep; it’s different.

Nevis Peak

But you don’t have to get on an airplane to get the same benefits of being in a different place. It doesn’t take much.

Sometimes I just move my laptop to my dining room table and that helps clear the cobwebs. Other times I sit in Starbucks and enjoy some flashes of writing fervor. It’s not the coffee or the slow internet that wires me for greater word output. It’s being out of my everyday office.

Instead of grinding away in the same digs, change your venue. Even small changes in your work environment can move your writing to new places.

What if the US were run like a corporation and a madman was in charge? Check out my latest thriller USA, Inc. now available in eBook and paperback. Money-back guarantee.

Posted in writer's block, writing tips and tagged Cape Cod Dune Shacks, change of scenery for creativity, creative writing, creativity in writing, ee cummings, fiction writing, how to start your novel, jack kerouac, jackson pollack, larry kahaner, neuroplasticity, Nevis, norman mailer, St. Kitts, starbucks, writing inspiration, writing retreats

11 Nov 2014

2 Comments

The Trouble With Flashbacks and Backstories

By Larry Kahaner

One of the best things about writing this blog is that it forces me to confront my own writing issues. Currently, I’m wrestling with a particular flashback in my current novel. You probably know that flashbacks and backstories are different although they are similar. Both devices occur in the past and writers use them to give readers a better understanding of a character or situation through past history and behavior.

Backstories usually are standalone narratives whereas flashbacks are a character’s recollection. (I know that some will argue these definitions but I’m going to move on anyway as you consult your dictionaries.) Both suffer from the same malady, however. They interrupt the forward movement of your story.

In my particular case, the flashback is way cool. I’ve written it well and in real time. It moves like the wind and gives a great insight into my main character. On the minus side, it stops the main story dead in its tracks. The forward motion that I’ve worked so hard to achieve is halted, and I will have to work even harder to build up acceleration again.

The questions I have to ask myself is: Is it worth it? Cut out or leave in?

Actually, there’s a third choice. I could make the flashback shorter in hopes that the reader will speed over it. Nah. I either want to tell the whole flashback story or not at all.

Because I come from a journalism/non-fiction writer background I opted to brutally cut the flashback. Here’s the section under discussion:

“As the minister spoke, Mike remembered the funerals in Iraq. They were not ceremonies like today’s but what they called ‘ramp funerals’ where caskets containing service personnel were wheeled onto military transports for burial back in the States. Their buddies stood and watched as the caskets disappeared into the belly of a cargo plane. That’s what passed for funerals during the war.

He had his fill of death in Iraq. Mike saw too many pals die, too many ramp funerals, and the memories made him sick to his stomach.”

[Right here I had the rather long but again, very exciting flashback incident that occurred during the First Iraq War. It’s too lengthy to show. So, assume that you did read it and continue with the current day’s scene.]

“Now, here he was once more, watching the burial of one more comrade who died in the line of duty. Comrade? She was more than a comrade.“

Did you miss reading the flashback? If I didn’t say anything, you wouldn’t have noticed anything was missing. I added “Comrade? She was more than a comrade.” to highlight my main character’s emotional state and offer a bit of backstory, as it were, about their relationship.

In summary, I cut several pages of flashback and replaced it with seven words.

My word count took a hit, but I have a better book.

How do you handle flashbacks and backstories? Any advice for others facing the keep-or-cut dilemma?

Posted in characters, dialogue, novelists, plotting, writer's block, writing tips and tagged Backstory vs. flashbacks, fiction writing, How do I use backstory in my novel?, How do I use flashbacks in my novel, how to write characters, how to write thrillers, novel writing, novel writing success, writer's block, writing style

30 Oct 2014

6 Comments

How Good Does Your Novel Have to Be?

By Larry Kahaner plainenglish

When I was just starting my non-fiction writing career, I wanted to be published in the Sunday New York Daily News magazine. I had been born and raised in Brooklyn and to me the pinnacle of ‘getting in print’ was this publication read by millions. It was the tabloid newspaper for the masses and I wanted to reach that audience. For those who have not read the magazine, there was not much to the stories. They were mainly human-interest stuff, some sports, local color… you get the picture. Literary masterpieces they were not.

As much as I tried, I could not get them to buy my material. I tried for years and I was perplexed because I would read the stories and say to myself, ‘I can write better than this. Why won’t they take my stories?’

Fast forward to Boston University’s graduate school in Science Journalism where I met a professor to whom I was telling this tale. He said: “Maybe they don’t want anything better than what they have.”

The light bulb went on in my head. He was right. Not to sound cynical, but the editors were happy with the quality of the stories they printed. They didn’t want anything more clever, better written or exciting.

How does this to relate to novel writing? I read a lot of thrillers and some of them are what a reviewer friend of mine calls “perfectly fine.” They don’t blow the roof off the house or some such saying but they are enjoyable and satisfying to read. The most successful and bestselling authors know this. They don’t spend a lot of time concocting complicated phrases or sentences. They write simply, clearly and provocatively.

That’s the real secret of novel writing success. Fancy, witty and clever stories are okay… if you want to write them … but nothing makes readers happier than a compelling story, simply told, with a satisfying ending.

Leave the high falutin’ words for your dissertation. Just relate the story as if you were telling a friend. And, as I always say, you have only one job: make the reader turn the page.

Posted in characters, novelists, plotting, writing tips and tagged Boston University, fiction writing, how do you write a novel, how to start your novel, how to write novels, how to write thrillers, Journalism school, larry kahaner, modeling successful writers, New York Daily News, novel writing, novel writing success, successful authors, writer myths, writing a bestseller

19 Oct 2014

Novelists, Find Your Voice

By Larry Kahaner

Don’t be afraid to throw away your words. They’re not sacrosanct.

Don’t be afraid to throw out your early pages.

When writing many of my non-fiction books including AK-47: The Weapon that Changed the Face of War and Cults That Kill: Probing the Underworld of Occult Crime, I generally threw out the first 50 or so pages during rewrites.

It takes a while to get your writing motor running, to find your voice, which can change depending upon the book you’re writing. For me, the process takes about 50 pages. Some fiction writers swear that it takes them 100 pages before they hit the proper voice. These first hundred pages then get tossed in the trash.

Rest assured that this is normal.

First, what is voice?

I like to think of voice as having two components. The first is the author’s style. It’s who you are, your personality, the way you see the world. Are you a serious person or a wise aleck? Clever or subtle? Upbeat or a downer? These traits are reflected in how you write. They belong to you, so own them. This voice generally stays the same but can change somewhat based on what you’re writing. When I write serious non-fiction, one side of my personality shows through, the journalistic, down-to-earth side. When I write novels, my less serious side shows through. However, my basic writing style – which I define as accessible, easy to understand and ‘talk-directly-to-the-reader’ – is always the same. That’s who I am as a writer.

The second meaning of voice is the speech, tempo and chosen words of the narrator. Is the dialogue long-winded or fast-paced? Do the words fit the time frame and environment? Is the narrator convincing? Does the dialogue sound true?

In most cases, the first kind of voice generally stays the same – with mild exceptions – because it’s you. The second will change with the story.

Now, back to finding your book’s voice. My method (and that of many writers I know) is to let the draft sit for a while, as long as several weeks or a month. When you come back to it, it’s as if you’re seeing it for the first time. Now, instead of reading it as the writer, you’re reading it as a reader.

Trust your instincts and your first reactions to the book. Be honest and objective. Keep your ego in check. It may sound trite but ask yourself: Is the book true to who I am, what I want to say and how I want to say it?

09 Oct 2014

1 Comment

Start Your Novel Off With a Bang

by Mushymudpie at mushymudpie.deviantart.com/

By Larry Kahaner

Don’t Be A Victim Of Opening-Line Paralysis

I suspect you’re eager to keep reading because I have teased you with the notion that I can help you. That’s because I wrote a strong, provocative opening line.

Non-fiction writers, especially journalists, know about the importance of a strong lede. (Yes, we spell it that way in the biz.) I’m sure you do this for your own writing projects whether they’re reports, whitepapers or anything else you churn out.

Here are some ideas for writing compelling opening lines:

1 – Don’t worry about it – for now. For starters, just write anything that sounds halfway decent. There’s plenty of time to hone your awesome first lines later. To me, first lines are like titles; you have working titles and then make it better when you’re done with the book. Don’t let ‘first line perfection’ hold you up.

2 – Study classic first lines. Although this list purports to be the 100 best first lines, some are stinkers, (especially the longer ones) but most are excellent. Why? See the next point.

3 – As a writer you have just one job. Get readers to read the next line and then the next and the next and then get them to turn the page. If you can do that, you are on the way to being successful. See my guest blog about coercing readers to turn the page on The Thriller Guy’s blog.

The best first lines compel you to continue reading. They are provocative. They make you curious about what comes next.

Check out the opening lines of my novel-in-progress:

03 Oct 2014

2 Comments

Do You Have The ‘Authority’ To Write A Novel?

By Larry Kahaner

My non-fiction books like AK-47 and Values, Prosperity and the Talmud (pretty wide range, eh?) demand a lot of research. Not only do I read and study but I interview tons of people, which comes naturally to me as I earned my writing chops by being a newspaper and magazine reporter. Actually, I prefer interviewing people to book research although they complement each other and both have their place.

As the research process continues, I continually ask myself: “Is it time to stop researching and start writing?”

The answer for me is when I see the book’s overall theme materialize in my mind. This doesn’t mean that I know everything I need to know. It does mean that I know enough that the ‘big’ story is clear and apparent. I actually can see a beginning, middle and an end.

Nothing is set in stone, though. It’s subject to change, even major changes, but I am confident enough to begin.

The same goes for fiction. Novel writing requires research. Some stories, especially historical fiction, may require a great deal of research. But the question is the same: “When do I have the authority to begin writing?” And the answer is the same, too. When you see the overall story clearly. When it all makes sense to you not just as a writer but as a reader, too.

22 Sep 2014

6 Comments

If You Insist on Having Writer’s Block, Here’s Help.

By Larry Kahaner

I don’t believe in writer’s block. Never did. Of course, there are days when I just don’t feel like working but it’s not because I’m a writer. It’s because I don’t feel like working. Period. I’m tired, I’m sick, I’m bored, I’m distracted…whatever.

As I’ve said hundreds of times before: “Do plumbers have plumber’s block? Do doctors have doctor’s block?” No. There are no such things, so why do writers think they’re special?

I’m not going to answer that now. Instead, I’m going to help those who actually believe there is such a thing as writer’s block, but I’m going to call it “I-just-don’t-feel-like-working-today-but-it’s-not-because-I’m-a-writer syndrome.

Here are my tricks to work when I don’t feel like working:

1 – Set a time limit. I say to myself that I only have to work for 15 minutes but I have to write something. After that, I can stop. This works amazingly well because your brain sees an end to a difficult task so it’s okay with getting started. What always happens, and I mean always, is that I get on a roll and keep going. This works great for non-writing jobs, too.

2 – Jump in the middle. Sometimes I don’t have a clear notion about what I’m supposed to write now so I sit idle. By writing what I do know – even if it’s not the main idea or where I’m at in the story – it gives me some wordage. For example, write a scene that takes place a few pages or even a few chapters to come. Hooray, you’re writing.

3 – I think of the saying by Michael Kanin who co-wrote the Katharine Hepburn-Spencer Tracy film comedy Woman of the Year: “I don’t like to write, but I love to have written.” Actually, I love to write but I love to have written even more. It’s called delayed gratification, and it’s part of being a grownup.

Larry Kahaner

Write the Steamiest Sex Scenes Ever: Guaranteed

How to Screw Up Your Novel: The Drop-In Character

Guest Blog: Robin Latham – “Why Not Pinterest for the Novelist?”

Why Do So Many People Write at Starbucks?

The Trouble With Flashbacks and Backstories

How Good Does Your Novel Have to Be?

Novelists, Find Your Voice

By Larry Kahaner

Don’t be afraid to throw away your words. They’re not sacrosanct.

Start Your Novel Off With a Bang

Do You Have The ‘Authority’ To Write A Novel?

By Larry Kahaner

If You Insist on Having Writer’s Block, Here’s Help.

By Larry Kahaner

I don’t believe in writer’s block. Never did. Of course, there are days when I just don’t feel like working but it’s not because I’m a writer. It’s because I don’t feel like working. Period. I’m tired, I’m sick, I’m bored, I’m distracted…whatever.

As I’ve said hundreds of times before: “Do plumbers have plumber’s block? Do doctors have doctor’s block?” No. There are no such things, so why do writers think they’re special?

A few of my books

Recent blog posts

Follow Blog via Email

Archives

Search this blog

Follow Blog via Email

Archives

Blogs I Follow

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

By Larry Kahaner

Don’t be afraid to throw away your words. They’re not sacrosanct.

Share this:

Share this:

By Larry Kahaner

Share this:

By Larry Kahaner

I don’t believe in writer’s block. Never did. Of course, there are days when I just don’t feel like working but it’s not because I’m a writer. It’s because I don’t feel like working. Period. I’m tired, I’m sick, I’m bored, I’m distracted…whatever.

As I’ve said hundreds of times before: “Do plumbers have plumber’s block? Do doctors have doctor’s block?” No. There are no such things, so why do writers think they’re special?

Share this:

Post Navigation

A few of my books

Follow Blog via Email

Archives

Search this blog

Follow Blog via Email

Archives

Blogs I Follow